(Scarlet Witch Variant.) Marvel Comics.
(Scarlet Witch Variant.) Marvel Comics.
If I could tell my 19-year-old self discovering superhero comics in college exactly how good their big screen adaptations would become, I wouldn’t believe me.
I saw “Avengers: Endgame” (2019) tonight with expectations that were very high. It was still better than I thought it would be. It was easily better than last year’s “Avengers: Infinity War” (although I think of them as two halves of the same epic movie). I don’t pretend to be a film expert, so take this as speculation — I personally think the pair of “Infinity” films have made comic-book movie history in the same manner as the original “Superman” (1978), Tim Burton’s “Batman” (1989) and Christopher Nolan’s “Dark Knight” trilogy (2005-2012).
I don’t really want to make any more observations, because I’m too afraid of inadvertently posting spoilers. But I will say that there is a massive tonal change between “Infinity War” and “Endgame.” The banter and humor of the former is largely left aside, and this concluding story is darker and far more emotionally sophisticated. It’s moving. It feels strange to write here, but I kept thinking during the movie that this was a more “grown up” Marvel film.
And it is EPIC. I honestly can’t imagine how Marvel can top it with future films. There is an action set piece that made my jaw drop. I can’t say more.
This is an obvious 10 out of 10 from me.
The hectic first episode of “Black Summer,” Netflix’ new zombie series, looks like ambitious stuff — it plays like a hybrid of “28 Days Later” (2002), “Pulp Fiction” (1994) and “24” (2001-2014). While it seems unlikely that this show can emulate the greatness of those classics, “Black Summer” still gets off to a damned good start. I’d rate the first episode an 8 out of 10 for being a pretty lean and mean start to a decent zombie series.
Part of the episode’s appeal is its frantic vibe and format — something that seems like a deliberate contrast to “The Walking Dead’s” slowly placed, methodical epic. The viewer is plopped down into the middle of a heartland neighborhood evacuation effort, three weeks into a zombie epidemic. With a series of lengthy, real-time tracking shots, we race beside a collection of unconnected characters who are desperately trying to reach United States Army pickup point.
The zombies are few in number. But they are the “high-speed zombies” that most modern horror viewers associate with Danny Boyle’s film, so the arrival of even one imperils the fleeing families. The makeup effects are good, the transformation process is effectively rendered, and the show is satisfyingly scary. The show makes this even more interesting by filming each character’s dash individually, and then showing them as discrete vignettes that are out of chronological order.
The story is weakest when it slows down enough to allow its characters to talk. The dialogue is truly bad, even if the quick action sequences make up for it. (Has there ever been a more generic bribery offer, for example, then the one we see here?) But this weakness doesn’t much affect the overall quality of an episode that follows so much action.
I was even more surprised that the episode works when I googled “Black Summer.” The Netflix series is produced The Asylum, the film company notorious for “mockbusters” like “Dead Men Walking” (2005), “Snakes on a Train” (2006) and … sigh … “Transmorphers” (2007). What’s more, “Black Summer” is intended as a prequel series to The Asylum’s “Z Nation,” the lamentable horror-comedy zombie series that ran for three seasons on SyFy. (It was so bad I couldn’t get through a single episode.)
It’s a weird world.
I’m going along with the crowd today where “Jigsaw” (2017) is concerned; I concur entirely with the other reviews I’ve read. It’s a story fraught with logical problems, but it’s entertaining enough to please fans of the franchise (of whom I am one). Based on my own enjoyment of the movie, I’d rate it an 8 out of 10.
Yes, some of it doesn’t makes sense. And the twists and coincidences seem pretty forced. There was another problem for me, as well — at this point, the writers seem to have run out of ideas for the film series’ trademark moralizing booby traps. (The one involving a grain silo is particularly uninspired, and seems like something out a Bugs Bunny cartoon.)
But what the hell. I’d be lying if I said that this was a movie that didn’t distract and scare me. I think what attracts me to the “Saw” films is not the blood and gore. (Gory horror movies are a dime a dozen.) It’s the character concept behind their brilliant, merciless killer — he’s like a combination of James Moriarty, Rube Goldberg and one of the Inquisitors of old.
Besides, I still like the twists. They may be forced, but they always take me by surprise despite my best efforts to predict them.
And I think every movie is made better by the addition of Callum Keith Rennie. (He’s a shady, grizzled police detective here, though he’s far better than so cliched a role.) I’ve always thought Rennie was terrific — he deserves the lead role in some sort of extremely dark anti-hero film. (Are they remaking 2005’s “Constantine” anytime soon?)